Charles Alexander - Masters of Jazz Guitar: The Story of the Players and Their Music

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Page 1 Masters of Jazz Guitar

Page 2 View from the back of the stage at a George Benson show in Harlem Masters of Jazz Guitar The Story of the Players and their Music A Balafon Book First British edition 1999 Published in the UK by Balafon Books, an imprint of Outline Press Ltd, 115j Cleveland Street, London W1P 5PN, England. Copyright 1999 Balafon. All rights reserved. No part of this book covered by the copyrights hereon may be reproduced or copied in any manner whatsoever without written permission, except in the case of brief quotations embodied in articles or reviews where the source should be made clear. For information contact the publishers. ISBN USA 0-87-930-592-4 UK 1-871547-85-7 Printed in Singapore Art Director Nigel Osborne Editor Charles Alexander Editorial Director Tony Bacon Production Pip Richardson Print and origination by Tien Wah Press 99 00 01 02 03 5 4 3 2 1

Page 3 The Guitar Breaks Through Tony Russell 4 Masters of Rhythm Richard Cook 10 Soloists of the Swing Era Brian Priestley 16 Django Reinhardt Max Harrison 24 Charlie Christian Dave Gelly 32 Swing to Bop Stan Britt 38 The Bebop Masters Stan Britt 44 The Cool Sound Alun Morgan 54 Influence and Confluence John Fordham 60 Wes Montgomery Kenny Mathieson 68 The Hardboppers John Fordham 74 Joe Pass John Fordham 82 Fusion: The First Wave Stuart Nicholson 88 Pat Metheny Kenny Mathieson 98 Fusion: The Second Wave Mark Gilbert 104 Shredding the Frets Mark Gilbert 112 Brazilian Guitar John Zaradin 118 The Session Players Kenny Mathieson 126 The Deconstructionists Stuart Nicholson 132 The Acoustic Guitar in Jazz Charles Alexander 140 The New Mainstream Kenny Mathieson 148 The Legacy of Django Andy MacKenzie 154 The British Scene Kenny Mathieson 162 The European Scene Chris Burden 170 The American Scene Charles Chapman 178 Recommended Listening 186 Index of People 190 Acknowledgements 192

Page 4 The Guitar Breaks Through Tony Russell It took the invention of electrical recording for the guitar to shake off european gentility and take its place as the voice of a new era and a new world. Looking back from here, the guitar seems to have been the defining instrument of 20th century popular music. Yet at around the time that the 19th century put up its shutters and the 20th prepared to open for business, several other instruments vied for space in the music stores' windows. The guitar had yet to assert its domination over the piano, the violin or the banjo. The process of establishing that pre-eminence is entwined with the history of jazz but not with jazz alone. For some decades the guitar had lived a double life. At one stratum of society it was a favourite instrument of the middle-class drawing room. Young men and, more particularly, young women would acquire some skill upon it as a polite accomplishment, rather as Jane Austen's ladies, a century or so earlier, sought a respectable competence on the piano. With the rise of the Gibson and Martin stringed instrument companies in the later 19th century there was also a rapid growth in stringed instrument societies (often sponsored by Gibson or Martin) under such genteel names as the T.A. Miles Guitar and Ukulele Club of Knoxville, Tennessee, or the Silk City Plectral Sextet of Paterson, New Jersey. These societies formed guitar, banjo or mandolin orchestras, often using variants of the featured instrument, such as harp guitar, bass banjo and mandola.

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